These classic performances
have been re-re-re-re reissued time
and again over the years to mark practically
every step along the road of advancing
audio technology. Not surprisingly,
because the original sound, captured
in early RCA Living Stereo, is so splendid
each incarnation seems to reveal yet
more riches. The performances, too,
are very, very impressive. Fritz Reiner
had worked with Strauss in Germany and
had built up a formidable reputation
as an interpreter of his music. Furthermore,
performances of Richard Strauss had
been one of the glories of the Chicago
Symphony who had given the American
premieres of Zarathustra (1897)
Don Quixote (1899) and Heldenleben
(1900).

We have listened to
this new SACD disc on our Bang and Olufsen
system: BeoSound 3000 player with four
Beolab 6000 amplifier/speakers (believe
me, not just pretty faces) and Beolab
2 woofer. Ian freely admits that he
did not fully comprehend the booklet’s
technical notes and was baffled by the
assertion that "in SACD surround
mode the music will be heard only from
the front left and right channels."
Nevertheless, he and Grace thought the
result was quite mind-blowing.

Zarathustra’s
spectacular ‘Sunrise’ opening with its
floor-shaking organ pedal and those
exciting timpani hammerstrokes and thrilling
trumpet and brass proclamations reach
right out at you. The sweet voluptuous
musings and rising passions ‘Of the
people of the unseen world’ sweep across
and engulf the sound stage and the unbridled
‘Of the great longing’ and ‘Of joys
and passions’ also thrill and tingle.

Passing on to Ein
Heldenleben, the sound was equally
riveting. Take, for instance ‘The hero’s
battlefield’. Here the spatial effects
are most convincing – the approaching
bugle calls, the cantering, then charging
cavalry and the booming guns (floor-shuddering
bass drum thunders) envelop the listener.
Also beautifully spatially engineered,
is the hauntingly lovely string passage
at the climax of ‘The hero’s retreat
from the world and fulfilment’.

It is amazing to remember
that this music was recorded as long
ago as 1954. Every instrument is glowingly
captured. Yes, one might argue that
the odd trumpet call, for instance,
is shrill and thin but that is the exception.
Listen, for instance, to the silky sheen
of the strings and the warmth of the
violin solos and the clarity of the
carping woodwinds in Heldenleben’s
adversaries’ music.

Even if you have this
classic recording don’t hesitate to
obtain this upgrade -sensational listening.

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